brainstorming

Middles

Posted by

1

Let’s talk about middles.  The middles of stories or novels, which I think is the most difficult part of any plot.

For me, I think part of the difficulty lies in having too many options.  There are too many directions to take things!  Too many choices about when this happens or what causes that or whether to add new characters or stick to just who I started with.  Another problem I face when moving the plot past the beginning and into the middle is, I get attached to the setup.  If I start a book or a story, chances are I’ve started out writing about a place, a person, a condition or emotion, and/or a situation I find interesting and want to explore.  Moving into the middle means shifting away from that, and often, I don’t want to at first – especially if it changes the tone.

I’ve learned that that attachment can be a benefit, as well as an obstacle, because it’s often a good instinct waving its arms at me and saying, “Hey!!  Don’t make this shift too abrupt for the reader!  Your pacing is going to SUCK if you don’t give ’em something to help them transition here along with the characters!”  Now, when I get the pangs of “I don’t wanna move on to the next part!” from my whiny little internal voice, I think, Hmmm.  What can I do to make this change feel smoother and more natural?  Why does it feel too abrupt?  What’s missing? and instead of a bang-head-on-keyboard session, I get to have a brainstorming session instead.  Much healthier for the forehead.

The “too many choices” problem, I don’t have a solution for yet – just keep writing and see what happens, or think out the possibilities logically and narrow them down until they’re at least manageable, if not carved in stone.  If your decisions for the plot don’t work, it’ll become apparent soon enough…and rewrites are going to be necessary no matter what you do.  I console myself by reading the notes of Dostoevsky (one of my writing heroes), who had some of the worst initial ideas for the endings of his books that I’ve ever encountered, and yet the end results of his labors are beautifully written, heart wrenching and heartwarming, and brilliant (although his final endings are still shaky sometimes, I admit (sorry, Dostoevsky)).  So my consolation to myself is knowing that if a writer that fantastic had plenty of bad ideas, it can’t be so bad to have bad ideas.

I guess the moral of this post is, write the middle even if you’re intimidated about it, figure out why you’re intimidated about it if you need to, and rewrite it if it doesn’t work out.  That’s all you can really do, unless you want to give up.  And you’re not a quitter, right?  RIGHT???  Good.  I thought not.

Big Cast Novels

Posted by

2

When you have a big cast of characters for a novel, you have a big set of challenges ahead of you.  The first of these is deciding who your main characters are.  This sounds like it should be obvious and easy to answer, but I know from first-hand experience that you, the writer, can be very, very wrong about which people your story needs, and which storyline actually works for the characters.

Sometimes you have to write a chunk of the book (or at least a few scenes) before you get a real feel for what/who works and what/who doesn’t.  My personal rule of thumb is, if a character just flows out effortlessly, that’s your main character, or at least one of your primaries.  If a character you plan on being a primary figure in the storyline is difficult, frustrating, or no fun to write, CUT THAT CHARACTER!

Let me tell you a fun little anecdote about my upcoming NaNoWriMo novel.  I came up with the initial concept about thirteen years ago.  Yes.  Thirteen years ago.  I started the book five times, got about ten chapters in, and realized it wasn’t coming together each time.  So I’d stop, work on other projects, and do some world-building for this novel on the side.  Whenever I’ve finished a short story or a draft of my other novel, I’d come back to this one.  I talked to some of my writer friends about it.  “Cut your main character,” was their advice.  Cut my main character???  But she’s the main character, right???!

This summer, between drafts of my Erica Flynn novel, I sat down and looked over my notes about my thirteen-year project.  And holy heck if I hadn’t modified the storyline to the point that my main character had become entirely unnecessary to the plot!  I’d been writing her out of the book for years, subconsciously.  I didn’t enjoy writing the scenes that focused on her, I didn’t like her much (although I admired some of her personal qualities), and I wasn’t inspired by her.  The characters I’d written the best material for were either secondary to her, or pitted against her.  These are now my main characters.  My original protagonist is gone, not even a bit part.

Go with your instincts.  Who do you enjoy writing about?  Either you enjoy writing those parts because they’re really good parts, or you’ll write them really well because you like writing them.  No matter which direction that cause and effect goes, you’re going to end up with better material.

Also, write up a list of all your characters, and write out each one’s “through line” for the book.  What changes about them – whether it’s internal or external?  The characters who change internally and externally are your strongest, automatically.  Those are your main character nominees now.  Tweak their through lines.  Make them stronger, more dramatic, more interwoven with the overall plot.  Play around with it!  Have fun!  No, I’m not being sarcastic.  Really – have fun with your writing.  You can be miserable later, when you’re revising.  Hah!  😉

A Week in the Life

Posted by

0

It’s been a busy week for me, writing-wise.  I finished proofreading the final draft of my novel on Tuesday, which means that today or tomorrow I will be able to wrap up the final version altogether.  Just got a few finishing touches on three chapters, and then it’ll be on to writing my query letter for an agent!

My plan is to spend October (after I get my query letter done and my book sent out) prepping for my NaNoWriMo project.  The book is the first in a trilogy, so in addition to planning the story arc for all the major characters across all three books, I’ll be looking into putting together a series bible (more about that in another post, when I’ve gotten started making one!).  I spent yesterday tacking every visual element I’ve come up with in association with this book over the years I’ve had it rattling in my head.  I have character sketches, clothing designs, a map, a grid style outline, architectural sketches of specific settings (from specific vantage points, in some cases), and ink drawings of some types of creatures the series may or may not involve.  This is all on the wall next to my bed now, which I hope will mean I’ll lie there and stare at it at night and get good ideas from my subconscious as a reward.  Ha!

October, if it goes the way I want it to, should be spent in a frenzy of sketching, inking, and coloring cityscapes and architectural studies, reading up on and eating authentic Italian food (and drink), and searching out traditional Italian and Russian folk music for the purposes of a worktime playlist.  Ah, man, what a hard life.

One of my short story beginnings also piped up this week, with lots of ideas suddenly occurring to me that will finally give the story direction, purpose, and cohesiveness.  So maybe if I’m a good little writer and get my book sent off early enough, I can spend a couple days drafting this short story before I get my head totally into the NaNo novel.  I love that writing is its own reward – literally – for me.  I’m like, I get to write a short story if I send off my book before I need to start my other book!  Hurray!  And this actually works as motivation.

A Word About World Building

Posted by

1

For writers of speculative fiction, world building is a vital part of the process of writing.  When your story is set in a fictional time and place, you have to know your world thoroughly and in detail if you want readers to suspend their disbelief in the fantastical events you’re going to put before them.  Inconsistency, sloppy or scant texturing, and stale genre stereotypes are the bane of science fiction and fantasy writing (and reading).

How do you go about creating a whole other world?

Well, here’s how I do it.  I start with whatever originally sparked the idea for the story, of course.  What does that spark point require, contextually, from the time and place, in order to work?  Does technology need to be advanced for this to work, or does technology need to be severely limited?  If it’s limited, what has held it back?  Go from there.  Keep asking questions.  Keep answering them.  If you don’t know yet, make note of it and chip away at other things in the meantime.  If I get stuck, I’ll write a list of “10 Things I Know About [This Place]”.

Sometimes the setting is the spark, for me.  If that’s the case, I draw it out with questions and answers, find conflicts that such a society would face, pick what interests me and what types of characters would be interesting – who’s on the fringes of a culture like this, who’s intimately involved in these conflicts, who wants to help and why, who wants to take advantage of the underdogs’ weakness, etc. – and fill the story out from there.

How do you get ideas for the setting itself?

For the trilogy I’ll be working on this November for NaNoWriMo, I originally started by modeling the setting off of a real-world time and place that interests me – Renaissance Italy.  That isn’t to say I’ve stuck to accurate historical details by any means (the last I knew, Renaissance Italy was never invaded by a clan of pseudo-Russian elves) but it does mean that if I’m having trouble fleshing out details about the setting, I can refer to photos, art, architecture, cookbooks, history books, Italian folk music and folk tales – anything that can be internalized about the actual place and time and either used or modified to work with my fictional setting.  It’s research, but it’s fun research.  How could any research that led me to taste-test brandy-spiked coffee be a bad thing??

Aside from choosing a real-world basis as my starting point, other settings have come to me through toying with ideas about different societal constructs, projections of “what if” questions, working out the history and the future of my own invented world and seeing what types of cultures came together or broke apart before and after the events of the trilogy.  Even dreams, sometimes.  One of my favorite of my uncompleted short stories is set on another continent in the same world as the trilogy – a very isolated continent full of crazy-dangerous wild animals – and the whole setting and story came to me as a dream.  The architecture, the characters, the clothing, the socio-economics and political setup…I dreamed all of it.  Thank you, subconscious.  Thank you!

Should you include everything that you know about your setting in the story itself?

No.  Absolutely no.  I have a binder with maps, timelines, and notes about my setting that’s almost two inches thick.  Nobody needs to know all that crap except me.  And someday, if I ever have a die-hard uber-nerd cult following for my trilogy, maybe them.  But normal readers do not need the full extent of what you, as the writer, know about your world.  You need to know, in order to maintain consistency and keep the illusion that this place is real and that there is all of that stuff to know.  And you can never tell what will end up being pertinent to the book until you’re in the thick of it.  So know your world intimately, including what would be written in dry history textbooks in their schools, but don’t dump the history book in the reader’s lap.  Use your knowledge of the setting to enrich the story, but do it through implication, hints, details that enliven the story and the characters, dialogue and interaction, etc.  Make the story and the setting inseparable.

Images & Words

Posted by

2

To be honest, I haven’t been doing much with writing for the past two weeks – aside from poetry, which, for me, is a purely personal medium.  I’ve been picking at my NaNoWriMo novel outline, but not wracking my brain over it.  In times of considerable change, I think in images more than in words.  Art projects have been big these past few weeks.  Poems come out like finger-paintings.  I just express and express and express, without trying to construct anything but my own mindframe, healthier and stronger than ever before.

Primarily, this blog is based in writing fiction (or at least prose), so art projects and expressive and personal poetry hardly seem in my usual line for posting here.  However, imagery is something that transcends the boundaries of each of the arts – it’s vital to writing evocative prose.  Without imagery, we’re “just stating the facts, ma’am,” and it’s dry as an office memo.

Imagery gives prose a tangibility that can make the words more than just words to the reader, that fires the imagination and makes the people and places and events of the story so clear that the real world slips away – and that’s our goal, as writers, really:  to create something that, for a time, is larger than life and more real than reality.  Fiction is hardly about accuracy.  It’s about believability, which has far less to do with how likely something is than how interesting it is.  Sensory perceptions – particularly visuals – are important to us humans (yes, that is grammatically correct) and, obviously, with the written word, description is your only method of communicating those.  Factual description falls short, though.  Comparisons, contrasts, metaphors, connotations, juxtapositions, and even letter sounds (hard consonants or soft, repetition of letters, etc.) are our canvas and our paint, bringing the story world to life for our readers.  One of the most inspiring users of sensory evocation of the story world, for me, was F. Scott Fitzgerald, when I read a collection (and The Great Gatsby, naturally) of his for the first time at seventeen.  I went metaphor-crazy for a few years, and although I went over the top with it sometimes, it was good practise.  Writing exercises that challenge you to think in sensory terms and metaphor are excellent for getting you in the habit of thinking that way – once you form the habit, it’s second nature, and if you find yourself slipping out of it, you can always do a few more writing exercises and get it back.

The other valuable thing that image-based thought does for me as a writer is part of my brainstorming process.  Ideas start to come to me in flash images, and putting them together has frequently yielded rich, intricate storylines for me.  Sometimes it’s just an imagined photograph lying on a kitchen floor in the sunlight, and my brain starts churning out questions like, “Why is it on the floor?  Who dropped it, and why?  Did something bad happen to them?  Or were they upset about something to do with the picture?  Who’s in that picture, anyway?”  Boom.  Characters start to jump out of the woodwork.  A scenario is created out of one simple image, and my brain is off and running full speed.

With writing fantasy, this type of image-thought has been particularly useful in getting ideas and getting unstuck.  I can’t tell you how many characters and plot points have been born of one quick visual popping into my head at random.  My NaNoWriMo project for this November is chock-full of scenes that originated with nothing more than a sudden visual of a character making a choice, struggling with an emotion, reacting to another character, or acting on decisions they feel conflicted about.  Sometimes I hadn’t even thought to have an internal conflict for a particular person over a particular choice, but when I played the idea through in my head, it was there on my character’s face.  And then I’d realize, of course that would bring this or that out in this character.  What I hadn’t considered in words or abstractions was so obvious in images that I felt silly for not realizing it before.  I had stumbled right over it.

Essentially, the more angles you can consider your writing from and the more you can give your readers to hang their imaginations on, the better off you are.  So I’m not regretful that my brain is taking a vacation in the land of symbolism and visual metaphor.  I’m digging in as far as I can to see what I can glean from this unexpected journey.

Making Connections

Posted by

4

One of the most common questions people ask writers (especially speculative fiction writers) is, “Where do you get your ideas?”  For me, the answer to that question is, everywhere.  The hard part is turning an idea into a story-worthy conflict with three-dimensional characters, and making sure the idea doesn’t overshadow the actual content of the story.

I’ve picked up the habit of keeping all my ideas (woefully unorganized), even the ones I will probably never use.  Notebooks with scribbled ideas in the margins, grocery lists with character concepts scrawled in next to the shopping, cut and pasted files in my writing directory on the computer, scrap files taken out of other stories…ideas everywhere.

Why?  Because having all that junk to look over helps me combine ideas, and combining ideas is fun, as well as useful for brainstorming full plotlines out of things that, alone, wouldn’t make much of a story.  It’s like going antiquing for a room you’ve only partially furnished – you browse around, find some good stuff, get ideas of what you do and don’t want for the room, remember something you saw over at the dollar store that would fit in perfectly, realize you want to re-paint the whole room, whatever.

The Life & Death (But Mostly the Death) of Erica Flynn, when I first came up with the story, was a combination of a dream, a question, an interest in mythology, and my desire to write something in a world where I could make all the rules from scratch but still have a modern, conversational narration style.  When I knew there was a book in my head was when this alternate-dimension dream I had combined with the hypothetical question, “What would you do with your last hour if you knew you were going to die?”  Once I had the basic setup in mind, I thought about what kind of book I wanted to write, what setting I wanted to spend a couple years in while I wrote it and revised it, and what kind of protagonist I wanted to spend all that time with.  The domino effect took care of most of the rest of the concepts for the book, since the tone required a certain type of narrator, the establishment of that character drove the action and events, the action and events would require these types of consequences in this world, etc.  It was really a very easy book to plot, for the most part, because I knew what I wanted the parameters to be before I even started it.

Now, the book I’m planning for NaNoWriMo is much more complicated – it’s not as linear, it’s a much broader scope, it’s in multiple points of view, there are interlinked subplots, and it’s the first of a trilogy.  Oddly enough, the first idea that sparked my desire to write it has now been cut entirely out of the book.  As it stands now, the things I’ve left in the plotline came from the following sources:  two characters I cannibalized from (terrible) novels I wrote as a kid (age 10 – 12), ideas from I Ching readings I did for my original character concepts, a brainstorm session of conflict mapping, research sessions on the historical scientific and technological effects on the development of societies, photos of Florence my mom brought back from her trip to Italy when I was young and impressionable, and – again – a clear idea of what kind of book I want to spend my time writing and what characters I want to spend my time with while I’m working on it.  Some of them, I want to spend time with the way you can’t help looking at a car wreck, but still, the fact remains that I’m drawn in by them.  If I’m still curious, even though I already know what happens to them and what choices they’ll make, I consider it a good sign that readers will be interested in them, too.  Let’s hope, anyway – haha!

Long story short (too late!) it’s not just where you get your ideas that’s the pertinent question.  A better question to ask a writer is, “How do you connect your ideas?”  Go brainstorm.  It’s fun.  🙂

Plottin’ & Schemin’

Posted by

2

Sorry, that just put the Beastie Boys song “Rhymin’ & Stealin'” in my head.  Anywayyyy, I had a mini writer’s retreat with Marian Allen last week to do some work on our respective upcoming NaNoWriMo projects this November.  I’m using NaNo to write the first book in a trilogy I’ve had in mind for ages now, so naturally our shop talk got around to plotting techniques.  I’m normally not much of an outliner, and if I do outline, it’s usually not in much detail, but (a) the plot of this trilogy is extremely complex, (b) there are a lot of characters, and their stories interweave and affect each other, even those who don’t know one another personally, and (c) it’s a trilogy, which means I want continuity between the three books, and I don’t want to get to book three and say, “Crap!  I wish I’d mentioned THIS THING I NEED FOR THE PLOT TO WORK back in book one!  Now I’m going to have to shoehorn it in and treat it like it’s been the case all along!”  Of course, that would only be a problem if books one and two were published by the time I was writing book three, but let’s give me some credit here and say that’s a possibility.

I know quite a lot of events that need to happen for the main plot and for the subplots (and there are times when my subplots directly affect the main plot, too), but the order of many of the events is up in the air.  At the suggestion of my writing buddy, I tried a more visual structuring technique:  Take a piece of paper and mark it off into rectangles – 9 columns and 3 rows.  In the fifth column of each row, write “Turning Point”, in the next-to-last rectangle write “Climax”.  Your first box is your setup, the last box is your conclusion.  Start filling stuff in.

Now, I modified this somewhat to accommodate a 3-book storyline.  For the trilogy, each book gets its own row, so there are 9 rectangles per book.  That means less nitty-gritty plot detail can go into it, but the general shape of all of it comes together in one place.  I have 18″ by 24″ paper (for painting, usually) and many colored pencils (for coloring books, usually), so I color-coded important characters and got busy.

While I don’t think this will be a solve-all for my plotting problems in this series, I think the combination of a list-form, all-just-text plot file  with this visual structure layout will be highly useful.  Already, there are times when my brain gets stuck with one format, and just switching to the other type of outline unsticks it.  The more tools you, as a writer, have, the better, because every single project is different, and a tool you never needed before may suddenly be really useful for your next story!

NaNoWriMo

Posted by

7

This November will be my first year participating in National Novel Writing Month – and I’m very excited about it!  Other than last fall, I’ve been working full-time every November for the last several years, and this past year I was well into the process of revising the rough draft of my novel during NaNo – didn’t seem like a good idea to switch gears and start something new right then.

So this year, I get to do it, and I’m trying to think ahead and prepare for it so I can get the most out of it that I can.

If you don’t know about NaNoWriMo, the goal is to write a 50,000 word novel between November 1st and November 30th by writing 1500 words per day (at least!)  Correct me if I’m wrong about that word count, because I had trouble double-checking it on the NaNo website.  Of course, it’s going to be very rough, but that’s what I’ve been preachin’ about lately, right?  Write it down and THEN fix it.  NaNo has a strong online presence, too, and it’s a great way to connect with other writers and swap story talk.

I’m planning on writing the first book of a trilogy that I’ve been planning, plotting, fiddling with, rewriting, changing, doing research for, and generally screwing around with for the past 13 years.  I WANT this book to be written, dang it, and it’s time it was.  What better way to stop all the hemming and hawing and actually plunge into this story than NaNoWriMo?  That’s my plan, anyway.

In preparation for my month of glorious and frantic writing, here’s some stuff I want to do ahead of time:

  • get all my notes together and re-organize them, taking out all the discarded and altered ideas and putting those in a separate binder, so I’ll have a cohesive set of details to work from
  • finish my rough plotline for the various characters’ story arcs, leaving plenty of room for the story to change if need be
  • do more architectural drawings of the setting, to help keep my visuals consistent as I work on writing it
  • take care of as much mundane, real-world stuff ahead of time as possible to keep that month focused on writing
  • possibly do some writing exercises to draw out my ideas for the characters and the storyline – sort of a pre-emptive inspiration process
  • get some appropriate music together and make some work playlists for my writing time

Maybe it’s crazy to prep for something that’s all about keeping a sense of spontaneity, but hey, what Boy Scout doesn’t come prepared, right?

——

On a side note, I have just returned from vacation, which is why I haven’t updated this week, and hopefully someday I’ll post more consistently on this blog!

Fixing Flat Characters

Posted by

0

While there are some fine examples of books/stories in which an “everyman” character can be interesting, there are many more examples in which an “everyman” type is…well, boring.  That’s not to say that stories about “normal” people can’t be awesome, but there’s no such thing as a perfectly neutral person, just like there’s no such thing as a perfect person.

Don’t you risk pushing away some readers if you make a characters’ quirks, beliefs, attitudes, or lifestyles different from those readers’?  Yeah, but, just like in real life, not everybody is gonna like everybody else.  There are people who don’t like YOU, but you’re still yourself, right?  And a lot more readers will be intrigued by and endeared to a strong character (even one of questionable morals) than a flat, boring character.  Look at Han Solo.  He’s kind of a rake, self-centered, and smart-mouthed.  But that’s why he’s an entertaining character – that juxtaposition of “not a NICE GUY, but a GOOD GUY nonetheless” keeps you curious about his next line, whether he’ll do the right thing or not, etc.

Now, there’s another way to make a character flat and boring, at the other end of the scale.  There is nothing more intensely BLAH than a character that’s overdone – he/she is a stereotype, relies entirely on a single central trait, or is so over-the-top that he/she leaves readers rolling their eyes and sighing in moments that are meant to be powerful or gripping.  This happens a lot with the all-good hero or all-evil villain, but it’s not a problem confined to good guys vs. bad guys.

The core of the issue, really, is when the writer himself/herself doesn’t know enough about the character.  Sometimes, characters just come out three-dimensional without any effort on my part.  I love it when that happens.  Other times, they develop depth and back story during the writing process (I also love that, although it usually means I have to tweak the first scenes or chapters that character appears in, to account for things I’ve “learned” about them along the way).  And then, some characters take momentous effort to make them come alive.  Actually, I love that process, too, although it can be frustrating when the characters just won’t work with me.

For particularly troublesome characters, here are some things to try:

  • Break up stereotypes.  If you’re writing a character who is one, reverse a few expectations, throw in some additional interests, or give us some reason that your character him/herself is TRYING to be a stereotype.
  • Ask your character any 10 questions, like it’s an interview.  Write down your questions and their answers, and see what new information you can uncover about them.  What was his favorite birthday present as a kid?  What’s her ideal vacation?  What STILL bothers him, even though it happened 16 years ago?  What’s the ability she’s most confident about in herself?
  • Write down 3 things your character is aware of about himself/herself (pick some good and some bad), and 3 things that OTHER characters would readily notice about his/her personality (some good, some bad) that he/she isn’t aware of about himself/herself.  Think about the things you’ve listed – are they things that would factor into events and reactions within your storyline?  Are they things that will change, or things your character will realize, within the storyline?  Are they things your character will have to call upon or overcome in order to make it to his/her goal(s) in the story?
  • Strengths and weaknesses are sometimes one and the same.  It’s often the balance of a trait that makes it a “flaw” or a “merit” in a personality.  Being stubborn is bad, right?  The flip side of stubbornness, though, is persistance, determination, tenacity, and/or constancy.  Many of the best characters are ones whose flaws and strengths are a double-edged sword, and the interplay of positive and negative side effects of their traits gives the narrative plenty of potential intrigue and tension.
  • Don’t make a character all anything – good, bad, cruel, confident, indifferent, whatever.  Even if it’s just a smidgen of contradiction, and even if it isn’t written on the page, you should have it in mind that no one is all one way or another.  The ultra-confident jerk at the office who always gets the promotions and the girls may be exactly that to your main character, but YOU, the writer, can know better.  Maybe the guy is secretly horribly insecure and is overcompensating, or has something to prove to his overly critical father, whatever.  But, whether that’s specified in the story or not isn’t as important as the fact that, as a writer, you’ve got to know all your characters, heart and soul, as if they were real people.  They’ll never be real people to your readers unless they’re real to YOU first.

You can probably tell by now that I’m a very character-focused writer, so you know I’ll be rambling about characters and character development again.  You haven’t heard the last of it yet!  Muahahaha!  😉

Unsticking Stuck Scenes

Posted by

0

I know things are really “clicking” with a project when my ideas converge so that the scene I’m writing (or rewriting) does multiple jobs.  Notes I’ve scribbled to myself about needing to fit this idea in or that line of dialogue (and I’ve been agonizing over where the heck I can fit it in), problems with pacing, a character having it too easy when I need the stakes high for them, etc. suddenly snap together in my brain to make everything work.  It’s an awesome feeling when it happens.

How does it come about, when it does, and how does a writer make it happen, when it doesn’t?  Usually, if I’m stuck or have writer’s block about a certain scene, it’s because there’s something that hasn’t clicked into place yet.  The basic elements are there, but something is missing, and I can’t always put my finger on it.

Some things that I’ve found helpful for getting myself unstuck and making my brain epiphanize faster:

  • Keep detailed notes on what you know you need to work into the story, and about problem areas that just aren’t working (even if you aren’t sure WHAT doesn’t work yet).  So often, looking over my notes about this kind of thing will suddenly spark a solution that knocks out three or four problems at once.
  • If you can’t put your finger on exactly why a scene isn’t working, start with the characters.  How is the storyline affecting them at this exact point in the narrative?  How are the characters affecting each other?  Are they feeling just one emotion, or are there mixed feelings about what’s going on?  People have a lot going on, psychologically, and the most obvious actions and dialogue are not always the most realistic, the most accurate for character consistency, or the most useful for the story.  The more in-depth you know your characters, the easier it is to tap into secondary or conflicting emotions to get what you need out of them.
  • Take a little time away from the story.  If you’ve been staring at the screen trying to puzzle it out for three hours and still don’t know what to do with it, take a break!  Let your subconscious mull it over while you relax, do something fun, do some chores, whatever.  It’s sneaky, and gets your subconscious to do the work for you.  I’m often surprised when, in the middle of playing a video game, I’m suddenly hit with the solution to everything that’s been wrong with my story for the past week.
  • Change the tension level.  Either make things waaaay worse for your characters, ramp up the obstacles they’re facing, etc., or give ’em an unexpected ray of hope, moment of calm, or unlooked-for ally.  I like to do this in a separate file so that I don’t have to worry whether it works or not–if it doesn’t, I can just go back to my original scene and try something else to fix it!